A cultural official is urging bandleaders to embed clearer narratives of Emancipation, Independence and reparations in Crop Over masquerade, arguing that the revival of large wire-bent costumes offers a practical and visually powerful way to do it.
“Have the bands depict an aspect of Emancipation in the large costumes,” said Rodney Grant, programme advisor in the Division of Youth and Culture’s Office of Pan African Affairs and Heritage, adding that the concept should not be limited to slavery.
He said the recent return of Cohobblopot and the resurgence of elaborate wire-bending costumes present an opportunity to strengthen the festival’s cultural and historical significance.
Reflecting on this year’s Crop Over, Grant praised the National Cultural Foundation (NCF) for bringing back large costume displays, saying they made a lasting impression along the Spring Garden route.
“I think we need to find a way to immerse concepts of emancipation more in Crop Over, and for sure the mas is a good way to do it, particularly the large costumes,” he said.
Earlier in the season, a workshop on wire sculpting for masquerade was hosted by the Pinelands Creative Workshop in collaboration with the NCF, Caribbean Yard Campus and the Maria Holder Trust, with the aim of reviving the dying art form.
Drawing comparisons with Brazil’s Carnival, Grant noted that Brazilian costumes and floats prominently feature indigenous and African spiritual traditions, demonstrating how festivals can celebrate heritage while entertaining.
“Their large floats depict African spirituality, which is very much embedded into Brazilian culture, and we can do a lot of that by immersing aspects of emancipation into particularly the large costumes.”
Grant said the return of the oversized costume pieces was among the most memorable elements of this year’s festivities.
“I was very pleased with what NCF did. I think that made the biggest impact on Spring Garden. When I looked at it in the morning, what stood out most was those large costumes.”
While welcoming the revival of wire-bending artistry, Grant acknowledged that the high cost of producing large costumes remains a significant challenge. He recalled late master wire-bender Gwyneth Squires frequently raising concerns about the expense involved.
“One of the reasons why it dropped off in the first place is because of the cost,” he said. “I’m sure once we find a way to get the investment in it, I see space for where that aspect of the festivity could be one of the ways in which we can immerse aspects of emancipation.”
Grant also suggested incorporating historical and cultural storytelling into the judging criteria for bands.
“You can have a contemporary concept of what emancipation means to you. We can even take it forward to independence. You can take it forward to reparations because, like I say, emancipation is not static; it’s not stuck in slavery, because we didn’t stay there.”
(SB)
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